Series and projects in collage technique
Sorry that I exist, 2020
series of 25 works, 32×45, paper
This project is about feeling guilty for your actions or even the fact of your existence. It’s about guilt that constantly makes us apologize, explain, justify ourselves.
This feeling stretches from childhood and crawls on our backs, making us feel uncomfortable in the simplest and most everyday situations, for example: when you say no, when you count the change, when you name the price for your services or realize that you do not fit into the generally accepted framework of beauty and success. It is as if you are straining others with one existence and basic needs (“others are worse than you”!).
I chose my own photos as materials, which I transformed into collage self-portraits. The result is warped characters that accurately reflect the distortions of my body when I fall into guilt for my existence.
Space. Birth, 2020
series of 15 works, 85*65, 70×70, plexiglass, corrugated board
The work reveals the theme of the origin of life through the choice of certain materials and visual solutions.
The works are not by chance similar in composition and conditionally make up a whole circle or an oval with a pronounced center – it’s and ultrasound screen, where a woman sees the baby, and the porthole, through which a man can look at the cosmos.
The main material of the project – corrugated cardboard – is so nontrivial imperfect and ordinary for a man as imperfect and rough human body and the whole physical world. But it still goes to live that experience. So the artist goes to work with any material that called him, with which he felt a connection.
Minimalistic forms, 2019
series of 40 works, 30х40, 50х60 cm, canvas, acrylic
While working on this series, I came to the realization of my artistic method – abstract expressive collage – and defined the main theme of my research – the combination of the spiritual and material. I work with abstraction because it is as free as possible from being bound to recognizable forms. At the same time, color and texture of materials mean earthly and physical origin. In my collages, I combine these two themes and, in creating each new work, I live the creation of my own man-made world anew.
The series began in 2019 and continues to be filled with new works.
Rag-and-bone-man jazz, 2019
series of 10 works, 50×70 cm, fabric on a fiberboard
The first one, in which I used recycled materials and creating them, I realized how important it was for me to transform the old, to give it a second life without consuming more and more new materials.
I took apart my clothes and realised that I wouldn’t wear them anymore, but I really like the pattern and texture of the fabric. At some point in my head there was a single picture of fragments and shreds, and a few days later I was putting this idea into practice.
Vintage album, 2019
series of 4 works, 40×50 cm, paper, polyester on cardboard
In the collages were used vintage photographs and handwritten sheets, pieces of polyester. They are combined in such a way that the viewer feels as if he is flipping through an old album. She is now an old lady, but she keeps her trophies carefully in the form of photographs of her youth when she was young, beautiful and flighty.
Wires and stairs, 2018-2019
series of 50 works, 30х40, 50х80 cm, paper
The works of this series are united by a common theme – visual meditation on technogenic structures.
Stairs. Most people perceive the road as a heavy duty. I wanted to emphasize that the staircase is always a transitional state, it has duality: you are no longer at the starting point, but not at the end.
Stairs are fascinating to me as a symbol of opportunity. I explore the movement up and down. You can climb up the stairs to the sky, or you can roll down to the bottom. Moving in any direction transforms: after at least one flight, you will not be the same. And the choice of where to go is always a man himself. The moment of pause is no less important than the path itself: it is time for rethinking and analysis. The rhythm of the stairs, railing and spans forms the rhythm – the rhythm of whole lives.
Wires arouse my interest as an embodiment of energy, which can be controlled by human. Transformers and wires have become part of our lives, so obvious that nobody pays attention to them. And these are the blood systems of cities. Against the background of the sky, they create bizarre compositions, as if stretching into space to connect with the universal energy in its original form. Where the wires are not hidden under the ground, not carried by a fence, they are like pulsating veins on the body of the street. I admire their fine lines, I am afraid of their strength and realize the power that a human has put into these strange constructions.
Characters. Transformation of gloss, 2019
series of 20 works, 20х30, 30х40 cm, paper
What’s the life time of a glossy magazine? At best, a month, and then tons and tons of paper, expensive glossy paper will become garbage and rot in a dumpster. At the same time, in each magazine release a huge amount of man-hours and wood are invested. I wanted to give these pages a second life, changing their shape and filling them with new meaning. In the process, unexpected images and new characters were born.
series of 20 works, 20х15, 30х30, 30х40 cm, paper
Here, as in the series “Transformation of gloss”, I used fragments of old magazines, adding the technique of manual printing. Can a glossy magazine exist organically with a hand-printed print? Will they dispute on a sheet of paper? My experiment was successful. Mixing textures and their contrast is the subject of this series.
series of 20 works, 32×42 cm, paper, manual printing
This series works like a time capsule. I saved the energy of the object by printing it and copying its texture onto paper. Not every object was ready for this kind of research. And some things, leaving their mark, disappeared and dissolved. It turned out that the picture, the print lives much longer than its prototype.
Surprisingly, despite the seemingly homogeneous pattern, no element repeats itself. Each cell lives its own life, and the image softly pulsates and acts on the viewer peacefully.